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Royal Beaver
We've taken the experience that we've gained at BYOC over several years of studying vintage big muffs inside and out, perfecting the art of recreating vintage muff tones, and helping thousands of people build and modify their own big muff clones, and used it to design what we consider to be the holy grail of big muff pi inspired guitar effects.
After countless experiments, we've distilled the essence of what makes each version of the big muff different. We found which components were crucial to the tone of each version, and how to manipulate them so that the tone of any version can be acheived. Not only can it dial in vintage muff tones, it can dial in new tones that you've never heard before. Everything from a gritty low gain overdrive/boost to an over the top, crushing distortion that goes into endless feedback and sustain, even at whisper-quiet sound levels..
Transistor Configuring Controls
You have complete control over the V+ (positive voltage), gain, and bias of the transistors in each of the clipping stages. These knobs allow you to sculpt and mold the tone and texture of the fuzz into your dream muff. You can dial in the tone of any version of the Big Muff Pi - Triangle Era, Ram's Head, Vintage NYC, Green Russian. Or you can create your own new muff tone. Anything from creamy sustaining distortion to gated ripping-velcro fuzz. In addition to being able to control the sound of each clipping stage, you can also bypass or turn each stage on individually. And we've added a 3rd clipping stage to the circuit. This means you can have a one, two, three, or even zero clipping stage muff circuit.
The original muff circuit consisted of two clipping stages with a boost in front, and the tone control and another boost tacked on at the end. So with two of the clipping stages bypassed and only one clipping stage engaged, you get a grindy overdrive-like fuzz that's capable of low gain tones that you just can get by turning down the sustain knob or your guitar's volume knob. And with all of the clipping stages bypassed, that leaves you with two cascaded boost circuits with tone and sustain controls for a gritty boost to slam the front end of your amp and send it into singing overdrive. With all three clipping stages engaged, you'll enter a new sonic territory of high gain fuzz and never-ending sustain that no other incarnation of the Big Muff circuit has ever been capable of. And of course, you can turn on just two of the clipping stages for standard muff tones.
4-Way EQ Knob
All of the original Big Muff Pi circuits have a very scooped out mid range. While we've all come to know and love this tone, it's still nice to have a more versatile tone control. The 4-Way EQ Knob gives you 4 different styles of tone control to choose from.
Scoop - This is the classic Big Muff Pi tone control with a heavily scooped out mid range.
Flat - This setting replaces all the mid range frequencies that are lost with the typical Big Muff Pi tone control and just boosts/cuts highs and lows so that when you have the tone knob at 12 o'clock, you get a flat frequency response. This setting is great for not getting lost in the mix when playing live.
Mids - This setting adds a boost to the mid range frequencies. It's ideal for dialing in lower gain overdrive tones.
None - This setting removes the tone stack completely from the circuit. When in the none position, the tone knob does nothing at all. This was a feature found on some versions of vintage muffs. By removing the passive tone stack, you get pure, unfiltered, aggressive, muff tone. You also get a pretty big volume boost too!
The BigToneMusicBrewery Royal Beaver features all panel mounted hardware, including open frame Neutrik jacks, true mechanical bypass, and is soldered, wired, and assembled completely by hand in the USA. The pedal is topped off with a pink or purple LED (we can't decide which color we like better).
